Free RAW editor. Free RAW corrector. Free RAW converter.

Able RAWer is an easy to use program targeted. RAW images (photos) taken with digital cameras. Free RAW corrector.

Free RAW converter. Supported formats: raw, crw, cr. Able RAWer is a utility to read and manipulate raw images.

Listing of supported camera models for Adobe Camera Raw, along with the minimum Camera plug-in version and Lightroom version required for each model. So, the Camera RAW plugin is created anew for each version of Photoshop? I don’t get why so many other plugins work across multiple versions of Photoshop, but the.

Program allows to resolve all the exposure and white balance issues. Features: Reads many RAW formats from digital cameras. Supported RAW camera formats (crw, cr. Image processing (Color Adjust, Effects, Crop); Auto Adjust Colors; Blue and Red scales; Brightness value; Interpolating RGBG as four colors; Gamma; High- quality or low- quality color interpolation; Automatic white balance; Camera white balance; Supported Cameras: Adobe Digital.

07/27/2017: Nikon Turns 100 with a Scholarship & the Nikon100 List. 07/27/2017: TSA: Take Out Your Cameras & Other Large Electronics. 07/25/2017: Behold the Nikon.

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Nikon D7. 00. 0 Review: Full Review. Nikon D7. 00. 0 Imatest Results. We routinely use Norman Koren's excellent . I highly recommend it to our technically- oriented readers, as it's far and away the best, most comprehensive analysis program I've found to date. My comments below are just brief observations of what we see in the Imatest results. A full discussion of all the data Imatest produces is really beyond the scope of this review: Visit the Imatest web site for a full discussion of what the program measures, how it performs its computations, and how to interpret its output. Here's some of the results produced by Imatest for the Nikon D7.

The Nikon D7. 00. Some colors such as yellow, light green, aqua and cyan are slightly understaturated. Hue accuracy was very good, with the typical (typical meaning significant) cyan shift we see in most cameras we test, and also a little shift in other colors such as aqua, red, orange and yellow. Average saturation for the Nikon D7. Mouse over the links below the illustration above to compare results with the others in this group.

Most SLRs oversaturate colors when shooting in Adobe RGB mode, and the Nikon D7. Average saturation was 1. RGB result, but not by as much as we often see. Average saturation- corrected hue error was 4. Again, a pretty good result overall.

Mouse over the links below the illustration above to compare results with the same group. Nikon D7. 00. 0 Color Analysis. This image shows how the Nikon D7. Mac. Beth chart, compared to a numerically ideal treatment. In each color swatch, the outer perimeter shows the color as actually captured by the camera. The inner square shows what the ideal color would look like if the brightness were adjusted to match the camera's tone curve, while the small rectangle shows the numerically correct color with no adjustment. This image shows the good hue accuracy of the D7.

Some of the plots that were once shown here are now shown in other Imatest output. Since we largely focus on the Noise Spectrum plot, we only show the graphic above, which includes that plot.)In comparing these graphs with those from competing cameras, we've found that the Noise Spectrum graph at lower right is often the most important. Cameras that manage to shift their noise spectrum to higher frequencies have much finer- grained noise structures, making their noise less visually objectionable.

In the graph above, this would show up as a noise spectrum curve that remained higher on the right side, representing higher noise frequencies. Above, we see the results at ISO 1. The luminance curve (in black) is fairly flat, with blue and red channels only slightly elevated lot lower frequencies, however the red channel exhibits much higher noise values at lower frequencies. The dominance of low frequencies in the color channels points to some low- level blotchiness, but noise levels are so low in the red channel (bottom left plot), that subtle chroma blotches are only seen with extreme pixel- peeping in midtone and shadows. Above is the same set of noise data from the Nikon D7. ISO 3,2. 00. Here, the overall Noise Spectrum graph is shifted a fair bit toward the left- hand, lower- frequency side than it was at ISO 1. There's much less difference between the color channels in this plot, with the green channel tracking luminance noise very closely, and only the red and blue channel noise being a bit elevated at the lowest frequencies, no doubt due to noise reduction processing.

This translates to ISO 3,2. D3. 00. S but slightly higher than the D9. An impressive performance considering the smaller pixel size of the D7.

Here's the same set of noise data at ISO 6,4. Here again, the Noise Spectrum graph is shifted even more toward the left- hand side, further coarsening the . Overall noise levels are higher than ISO 3,2. APS- C SLRs. This above chart is a little crowded, so below is a version with ISO range 1.

This chart compares the Nikon D7. ISOs against that of a few other SLR cameras in a similar price range or resolution. While we continue to show noise plots of this sort because readers ask for them, we each time point out that the noise magnitude is only a small part of the story, the grain pattern being much more important, not to mention what the camera does to achieve a given noise level.

What's not shown here, though, is how good the Nikon D7. JPEG processing is at holding on to fine detail while keeping noise in check, especially in difficult subjects with subtle tone- on- tone detail.

The Sony A5. 80 and Pentax K- 5 score better at very high ISOs (above 6,4. All in all, a very good performance from the Nikon D7. Keep in mind, though, that these results are at default noise reduction settings, so the shape and positions of the curves will be influenced by your settings. Nikon D7. 00. 0 Dynamic Range Analysis. A key parameter in a digital camera is its Dynamic Range, the range of brightness that can be faithfully recorded. At the upper end of the tonal scale, dynamic range is dictated by the point at which the RGB data . At the lower end of the tonal scale, dynamic range is determined by the point at which there ceases to be any useful difference between adjacent tonal steps.

Note the use of the qualifier . What we care about as photographers is how much detail we can pull out of the shadows before image noise becomes too objectionable. This, of course, is a very subjective matter, and will vary with the application and even the subject matter in question. To this end, Imatest computes a number of different dynamic range measurements, based on a variety of image noise thresholds. The noise thresholds are specified in terms of f- stops of equivalent luminance variation in the final image file, and dynamic range is computed for noise thresholds of 1. For most photographers and most applications, the noise thresholds of 0.

The image below shows the test results from Imatest for an in- camera JPEG file from the Nikon D7. Stouffer 4. 11. 0), with its settings such as contrast and Active D- Lighting set to the defaults. Here, we can see that the tone curve maintains pretty good gradation in the highlights but the shadow end doesn't trail- off quite as nicely, though shadow noise is quite low. Total dynamic range is very good at 1.

D9. 0 and D3. 00. S, while the score at the highest quality is also very good, at 7. D9. 0's 7. 7. 7 and D3. S' 7. 4. 9. The high quality score at default settings is excellent for an in- camera JPEG from an APS- C sensor; among the very top performers. The illustration above shows the results from an Adobe Camera Raw 6. NEF file, using the Auto setting.

Slightly better results are possible by manually tweaking, but we weren't able to improve the scores. As can be seen, the score at the highest quality level was much better than the in- camera JPEG, at 1. D7. 00. 0's low shadow noise. Total dynamic range also improved considerably, from 1. It's worth noting here that ACR's noise reduction reduced overall noise (see the plot in the lower left- hand corner) relative to the levels in the in- camera JPEG, which would tend to boost the dynamic range numbers for the High Quality threshold. Also, the extreme highlight recovery being performed by ACR here would likely produce color errors in strong highlights of natural subjects.

Dynamic Range, the bottom line: The net result was that the Nikon D7. JPEGs showed excellent dynamic range, performing almost as well as the best cameras we've tested, and that's with Active D- Lighting set to Off (default). RAW dynamic range performance with Adobe Camera RAW was outstanding, producing the second best score we've tested to date, besting even full- frame models. To get some perspective, here's a summary of the Nikon D7.

SLRs that we also have Imatest dynamic range data for. The uncorrected resolution figures are 1,9.

LW/PH. That's somewhat lower than you'd expect from a 1. Correcting to a . The much improved standardized versus uncorrected results indicate the Nikon D7. JPEGs at default settings.